Shannon Starkey

Shannon Starkey
Phone: (619) 260-4600 ext. 4492
Office: Camino Hall 033A

Instructor, Architecture

  • PhD (candidate), Architecture, University of California, Los Angeles
  • BArch, Wentworth Institute of Technology

Shannon Starkey is an architect, curator, and architectural historian. He teaches history/theory seminars and design studios. He holds a professional Bachelor’s of Architecture from Wentworth Institute of Technology and is currently a PhD candidate in the Department of Architecture and Urban Design at UCLA.


Scholarly Work

Starkey’s work bridges architecture, finance, art history and geography. His current research, entitled “The Suspension of Disbelief,” looks at the role of speculation in architecture through the failed postwar development of California City in the Mojave desert.

Starkey is a founding member and lead researcher on the Future Living Project, an initiative that investigates the future of our domestic environment. He is co-author of the upcoming book based on that research entitled The New Domesticity, published by A+U.

In addition to his teaching and written production, Starkey has worked on several exhibitions - at the Japanese American National Museum, the MAK Center, the Graham Foundation, and the Chicago Design Museum - on topics including the cross-connections between art and architecture in LA in the 1970s, the development of supergraphics, and the role of video in contemporary practice. He is currently researching an upcoming show on the history of creativity to open at the University of Michigan Museum of Art in 2016.

Areas of Interest

Starkey teaches history/theory seminars and design studios. In seminars and lectures, he focuses on the relations between architecture as a cultural practice and as a capitalist endeavor. Most recently, he taught a class combining economic and architectural histories from the 16th century forward, in an attempt to reveal pressures and influences between the two.

In lower-division studios, Starkey teaches formal manipulation and modes of representation. In upper level studios, he looks at the interrelationships between design and economics. His broader approach to studio involves bridging research and design while maintaining a balance between the exterior realities of practice and internal questions of the discipline.